Documentos de Académico
Documentos de Profesional
Documentos de Cultura
Journal of Screenwriting
Volume 4 Number 1
2013 Intellect Ltd keynote. English language. doi: 10.1386/josc.4.1.87_7
SCREENWRITING CONFERENCE,
BRUSSELS, SEPTEMBER 2011,
CONFERENCE KEYNOTE
Steven Price
Bangor University
The screenplay: An
accelerated critical history1
A recurrent scene near the beginning of several Sherlock Holmes stories 1. This article has its
presents the following sequence of events: (1) Holmes gives a seemingly bril- genetic origins in a
paper delivered at the
liant illustration of his powers; (2) Watson is amazed; (3) Holmes explains that Fourth International
it is a simple matter of empirical observation and logical inference; (4) Watson Screenwriting Research
Network Conference at
then asks Holmes for his thoughts on the case in hand, presumably expect- Brussels in September
ing some repetition of (1) and (3); but (5) Holmes points out that [i]t is a 2011. In rewriting
capital mistake to theorise before you have all the evidence (Doyle 2008: 27). it for publication I
am indebted to the
Of course, the idea that one should follow the facts and not theories is itself comments of several
a theory. For instance, Holmes assumes that evidence is circumscribed: it is delegates, especially
possible to get all of it. But new data may arise that will occasion the rewrit- Paul Wells and Margot
Nash.
ing of the theory, while beyond the confines of the fictional detectives world
what counts as evidence, let alone the methodological strategies that lead to its
interpretation and the shaping of it into narratives and arguments, is always
open to question. One theory may lead the investigator to hunt for data that
another theory would dismiss as quite worthless.
87
88
Among the many things that this exceptionally erudite study has brought to
the field are a historical awareness of, and necessary critical self-consciousness
regarding, the ways in which screenwriting scholars conceive of the field and
their own relationships to it. The aspect that it most conspicuously margin-
alizes, meanwhile, is the screenplay text itself, which is almost completely
absent from the book. This is not necessarily a problem in a study of the
discourses surrounding screenwriting, but I would introduce three caveats:
first, that the production of screenwriting texts is a contribution to those
discourses, which therefore do not just surround screenwriting, but emanate
from within it; second, that while screenplays are certainly separable from
screenwriting, in Marass definition of those terms, written texts still consti-
tute a subset of screenwriting and can be investigated as such; and third, that
while screenplays are not autonomous, they nevertheless need not be seen
89
There are certainly some who regard screenplays as being very like inter-office
memos: as nothing more than a set of notes to a production crew (Luttrell 1998:
10, original emphasis). And in the meantime, even one of the most eminent
of the writers who compose them affirms that when shooting is over, screen-
plays generally end up in studio wastebaskets. They are discarded, quickly
done away with; they have turned into something else; they no longer have
any kind of existence (Carrire 1995: 150).
Frame 3: But even if we were to agree that [t]he screenplay is not the last
stage of a literary journey[;] [i]t is the first stage of a film (Carrire 1995: 151),
it can still have an existence, an afterlife, as the first (or last, or intermediate)
stage of the research of scholars, for whom it may be valuable in, for example,
aiding the understanding of the relationships between screenwriting and film
production. This would include most of the readership of and contributors to
the Journal of Screenwriting, for whom the study of the screenplay text is likely
to be not only a professional necessity, but an important way of understand-
ing a vitally important cultural medium.
To take just one example of the value of such research: in The Classical
Hollywood Cinema, Janet Staiger cites the published Proceedings of the
Research Council, Quarterly Meeting, December 15, 1932, which proposed
the standardization of format of scripts. Staiger argues that [t]he form that
90
91
which its job is to die, having in this respect a life cycle as reminiscent of the
male praying mantis as of the caterpillar.
The theoretical justification for studying texts outside their production
contexts nevertheless seems clear enough. It is bound up with what the
currently highly unfashionable Jacques Derrida terms the general citational-
ity or general iterability of language (1982: 325):
Once a text has been produced and circulated, it becomes detached from
its producer and subject to whatever use anyone subsequently chooses to
make of it.
The danger is that this opens up textual studies to pure subjectivity, which,
particularly in the context of a new field attempting to establish valid frames
through which its object may be defined, may at best seem pointless. Perhaps
the key site for the debate of this topic in literary studies is Stanley Fishs
book Is There a Text in This Class?: The Authority of Interpretive Communities.
The title of the essay that in turn gave the book its title was prompted, Fish
tells us, by an incident on his university campus when a student asked one of
Fishs colleagues, in this class do we believe in poems and things, or is it just
us? (1980: 305). In other words, do we believe that the text produces mean-
ings to which we respond, or do we, in effect, create the text by following
the methodologies prescribed by the interpretive communities of which we
are members? Fish argues for the latter, which helps to explain his devastat-
ing formulation in a different essay in the book: theories always work and
they will always produce exactly the results they predict [] Indeed, the trick
would be to find a theory that didnt work (Fish 1980: 68, original emphasis).
This cuts both ways. On the one hand, the student who does not believe in
poems and things has in an important sense made the text disappear, and risks
bringing into being a critical world in which anything goes. She has commit-
ted what Sherlock Holmes identifies as the capital mistake of twist[ing]
facts to suit theories, instead of theories to suit facts (Doyle 2008: 431). On
the other hand, theories always work because they are a precondition of
scholarship, helping to determine which facts to investigate and what value
to attribute to them. Moreover, general iterability is a condition of all texts,
and all scholarship. Fishs interpretive communities are very similar to the
frames of media and communications theory, which select some aspects of a
perceived reality and make them more salient in a communicating text. They
cannot be dispensed with: there is no position that is outside the frame that is
not a member of some interpretive community. The only way we can halt this
process of selection and interpretation is by not citing: by making the marks
inaccessible or invisible or dead, or just ignoring them. We, however, have
chosen to become members of a community dedicated to picking up those
traces and making uses of them even in ways that may be of no interest to
those who produced them in the first place.
The attempt to reconcile scholarly research with a methodology
informed by a critical engagement with recent theory is one of the things
92
93
That sounds rather like much current work on screenplay texts, especially
in relation to film production. The marriage is likely to prove especially fertile,
because both genetic criticism and screenwriting research seek to bridge the
gap between theory and research, bind the text to its moment of production,
see the text(s) as unstable, encompass multiple media, and tend to position
themselves as coming, as it were, after the event. Genetic criticism may also
prove a peculiarly apposite means of approaching some of the problemat-
ics within screenwriting that distinguish it from other forms of literature,
especially those of collaboration and the anticipated realization in another
medium. Macdonald finesses what he has previously termed the screen idea
(2004) as the screen-text, by analogy with the avant-texte, and proposes to
supplement this with study of the informing poetics:
if we can reconstitute not just the screen-text but also something of the
poetics that informed the screenwriter, a study of their belief system
rather than just the industrial context, we have something an inform-
ing poetics that we can use to understand that screenwriters work.
(Macdonald 2010: 5, original emphasis)
The work of Macdonald and others in exploring screenwriting via genetic crit-
icism is extremely significant, and wholly desirable as a means of reconciling
theory with practice and textual scholarship. My aim in the remainder of this
article is merely to suggest that, like any act of framing, it brings certain oper-
ations into sharper focus while marginalizing others, especially if we were to
concur that you can[t] study individuals or scripts in isolation from [] the
informing poetics of that time and place (Macdonald 2010: 12). First of all,
this would, in keeping with Ferrer and Grodens arguments, make screenplay
analysis a merely reconstructive activity, and one that would be both impos-
sibly ambitious (there is no limit to the material we could determine as having
some influence on the informing poetics) and impossibly limited (there is no
way we can simply reconstruct that historical moment without in some way
bringing in our own, for example, or without in some way conceding that the
historical moment itself is not circumscribed). This is not so much a criticism
as a restatement of an unavoidable condition: similar caveats could be raised
against any act of critical framing, and critical framing is what all of us are
doing all of the time.
More specifically, however, attempting to define the avant-texte could
become another iteration of the original sin of screenwriting research, which
has proceeded from the beginning on the assumption that there is an ontologi-
cal problem surrounding its object (see Horne 1992; Price 2010: 4353), with-
out going through that long period of data collection and textual analysis that
preceded the development of related arguments in literary studies. What Maras
terms the object problem is in part produced by the framing activities that
affirm its existence, and to these can now be added the mystery of the avant-
texte, the pursuit of which Macdonald (2011) compares to chasing rainbows.
In practice, however, there are pragmatic limitations beyond which the pursuit
of the avant-texte is likely to show diminishing returns: it may be extremely
useful in helping to trace a shaping narrative to the production of certain inde-
pendent films, for example, but less so in relation to the modular packages
that have formed much of Hollywoods production since the late 1970s.
Finally, the possibilities opened up by the historical conjunction of
genetic criticism and screenwriting studies could threaten to close down any
94
other possibilities that may emerge from studying screenplays outside their
informing poetics. That the text can be detached from its original context
and reinscribed within others that cause it to lose its origins will come as
no surprise to screenwriters who are used to seeing their work rewritten by
others. Meanwhile, there are critical and other readerships for screenplays
that lie outside their moment of production. For example, several critics (e.g.
Sternberg 1997: 7176; Igelstrm 2011; Davies 2012) have noted the wide-
spread variation between screenplays when it comes to the presence and
extent of narratorial commentary, which logically ought to be absent if the text
is indeed nothing more than a set of notes to a production crew.
In any case, the need to address that crew forms only one of the structures
informing the organization of the text. Another is the screenplays internal
organization: a line early in a screenplay will often be echoed by another later
on, characters will be paired (hero and villain) and so on. Under the aegis of
genetic criticism and its interest in tracing the creative process, we are perhaps
more likely to make reference to the significations of images, combinations of
words, recurrent tropes and so on, as they resonate not only for the writer(s),
but and this is where we would have to go beyond genetic criticism for
readers and audiences. To take a crude example, a Google search for best
one-liners in films threw up as the first sentence in the first hit: We all know
some of the famous on[e]-liners from the movies, but some of them are so
commonplace that you may not even know that its a quote from a movie or
from which movie it originated (Fitzgerald 2008). This phenomenon is one
illustration of a creative afterlife of screenplays that detaches them from their
original production to circulate in new contexts. And to take a single writ-
ers work to provide other examples, David Mamets screenplay for his own
film House of Games (1987) was adapted by Richard Bean into a play staged at
Londons Almeida theatre in 2010, while his script for Wag the Dog (directed
by Barry Levinson, 1997) acquired new resonances when it appeared to antici-
pate some of the future actions of then-President Bill Clinton.
Perhaps these are chance exceptions to a general rule. But all scholarly
writing about screenplays will always reinscribe them within new contexts
provided by the scholars critical framing, including the newly discovered
frame of the avant-texte, and there is no reason why that framing should
always be reconstructive. To take one, final example: the Margaret Herrick
Library at the Academy of Motion Picture Arts and Sciences in Los Angeles
holds a substantial archive relating to Mack Sennett, especially covering
the Triangle-Keystone years between 1915 and 1917. This shows that the
company would begin with story synopses that were then refined, often in
great detail, and which generated further textual materials through to post-
production. (Tom Stempel (1988) was the first to recognize the significance
in the history of screenwriting of the Sennett and other scripts at the MHL.)
But we could also detach these texts from their origins and frame them
differently. For example, the companys quasi-industrial methods of working
generated a stream of texts that continually recycle and recombine the same
elements: there is relentless repetition of similar situations, while characters
have no identity (this is even more striking in the scripts than the films) and
are reduced to mere ciphers, puppets to be used at the whim of those who
control them. The repetitive dehumanization of the process brings to (my)
mind the Marquis de Sades The 120 Days of Sodom, and more generally a
theatre of cruelty encompassing at one extreme the present-day comedy of
embarrassment (for instance, The Office), and at another the theatre of the
95
absurd, such as the plays of Samuel Beckett, which routinely display their
authors fascination with slapstick and silent film comedy. I could, perhaps,
start to extend this into a theory about how screenplay texts are by their
nature self-contradictory, creating characters that on the one hand are placed
in situations that ask them to make choices, and on the other are mere victims
of a set of instructions to a faceless industrial crew who will manipulate them
for their own fun and profit. If I were to do that, however, I would always
have to bear in mind that [t]he temptation to form premature theories upon
insufficient data is the bane of our profession (Doyle 2008: 319).
References
Ballard, J. G. (1996), A Users Guide to the Millennium: Essays and Reviews,
London: Flamingo.
Bordwell, David, Staiger, Janet and Thompson, Kristin (1985), The Classical
Hollywood Cinema: Film Style and Mode of Production to 1960, London:
Routledge.
Carrire, Jean-Claude (1995), The Secret Language of Film (trans. Jeremy
Leggatt), London: Faber.
Davies, Rosamund (2012), Dont Look Now: Adapting prose narrative for the
screen, London Screenwriting Research Seminar, 29 March: London.
Derrida, Jacques (1982), Signature event context, in Margins of Philosophy
(trans. Alan Bass), Brighton: Harvester, pp. 30930.
Doyle, Sir Arthur Conan (2008), The Complete Stories of Sherlock Holmes, Ware:
Wordsworth.
Ferrer, Daniel and Groden, Michael (2004), Introduction: A genesis of French
genetic criticism, in Jed Deppman, Daniel Ferrer and Michael Groden
(eds), Genetic Criticism: Texts and Avant-Texts, Philadelphia: University of
Pennsylvania Press, pp. 116.
Field, Syd (1979), Screenplay: The Foundations of Screenwriting, New York: Dell.
Fish, Stanley (1980), Is There a Text in this Class?: The Authority of Interpretive
Communities, Cambridge, MA: Harvard University Press.
Fitzgerald, John (2008), 101 movie one-liners everyone should know, http://
amog.com/entertainment/movie-one-liners/. Accessed 10 April 2012.
Horne, William (1992), See shooting script: Reflections on the ontology of the
screenplay, Literature/Film Quarterly, 20: 1, pp. 4854.
Igelstrm, Ann (2011), The screenplay reader and the concept of knowledge,
Fourth International Screenwriting Research Network Conference, Brussels,
8September.
Luttrell, Esther (1998), Tools of the Screen Writing Trade, rev. ed., Mt Dora, FL:
Broadcast Club of America.
Macdonald, Ian W. (2004), Disentangling the screen idea, Journal of Media
Practice, 5: 2, pp. 8999.
(2010), The poetics of screenwriting, Third International Screenwriting
Research Conference, 11 September: London.
(2011), Chasing rainbows: The problems of studying screenwriting, with
particular reference to George Eliot/Eliot Stannards Mr Gilfils Love Story
(1920), London Screenwriting Research Seminar: London, 24 March.
Maras, Steven (2009), Screenwriting: History, Theory and Practice, London:
Wallflower.
(2011), Some attitudes and trajectories in screenwriting research, Journal
of Screenwriting, 2: 2, pp. 27384.
96
suggested citatioN
Price, S. (2013), The screenplay: An accelerated critical history, Journal of
Screenwriting 4: 1, pp. 8797, doi: 10.1386/jocs.4.1.87_7
Contributor details
Steven Price is Senior Lecturer in English at Bangor University. He is the
author of The Plays, Screenplays and Films of David Mamet (2008) and The
Screenplay: Authorship, Theory and Criticism (2010).
Contact: School of English, Bangor University, Bangor, Gwynedd, LL57 2DG,
UK.
E-mail: els024@bangor.ac.uk
Steven Price has asserted their right under the Copyright, Designs and Patents
Act, 1988, to be identified as the author of this work in the format that was
submitted to Intellect Ltd.
97